Abstract
Vaqf (endowment) is one of the admirable Islamic traditions which have made the Muslims construct the buildings and different complexes based upon religious advises and also fair-minded of devotees such as kings and their relatives, ministers, politician, princes, merchants, and the other fair-minded people during the Islamic period. Most of these buildings still survived and lasted up to now. The nature of the devotion and its existence reasons not also was the cause of public utility constructions but also has guaranteed the preservation of those buildings and their urban zones. The Safavid period was one of the flourishing periods in terms of public utility constructions in the frame of devotion. This study aims to introduce the Aligholi complex and the influence of devoting traditions and its consequences on how it lasted from the construction till now. The base of this study is around educing devoting deed information of Aligholi Agha complex and benefitting from its contents and comparing the stated cases to the existing position and showing this point that how a building or complex-forming under the support of devoting system, and how devotee could guarantee the survival and durability of the complex after the construction.To influence the preservation of religious buildings and to regulate the urban zone around them, in this article we have studied the historical complex of Ali Qoli-Agha, which is an architectural masterpiece of Safavid era public buildings in Isfahan and formed within the framework of the endowment. In addition to regulating and forming the urban zone around it, this complex has also been the cause of its preservation and survival in the following periods. The Aligholi Agha historical complex is an architectural masterpiece of public utility in the Safavid period in Isfahan. This valuable historical complex has been built in the late Safavid period by the order and economical support of Aligholi Agha, who was one of the eunuchs in Shah Sultan Hussein Safavid’s court and then devoted to charity affairs. This historical complex included a mosque, bath, Bazar, Sagha Khane, Timche, Caravanserai, school, and Zoorkhane, which the three late places have ruined during the time.
Keywords: Vaqf (endowment), Formulation, Urban Context, Safavid Architecture, Aliqli Agha Bath.

Introduction
One of the objectives of this study is the effect of the endowment tradition and its consequences on the formation of public buildings and the durability and survival of such complexes from the time of construction to the present, with a case study of the Aligholi Agha complex as one of the complexes established in the Safavid period in the city of Isfahan. In this study, we seek to answer issues such as how the endowment affects the formation of the Aliqoli-Agha complex and its role in shaping the urban zone around us, and the preservation and survival of this complex from the time of construction onwards. The basis of this research is around extracting the contents of the endowment deed of Alighali Agha complex and benefiting from its contents and matching the items mentioned in it with the current situation and stating how a building or complex is formed under the endowment support and after construction, the endowment tradition and how the Vaqif (the person who endows) conditions could have ensured its permanence and survival.
With the development and flourishing of the architecture of the Islamic period in the Safavid era, the construction of religious and public buildings such as mosques, schools, baths, caravanserais, bridges, in the form of a complex in the city appear. During this period, the practice of constructing public benefit complexes with the financial support of kings and other philanthropists and benevolent of that period and the interest in this type of architecture under the influence of Vaqf spread. In addition to the influence of Vaqf as a factor influenced by religion, other factors including political, cultural, and economic factors have also played a role in their creation. The collections are formed together with the construction of a mosque, bazaar, bath, caravanserai, and school, such as the beautiful complex of Dar Dasht (Shah Abbas I period, 1660 BC). The complex of Vazir (Shah Abbas I period), Saroutaghi complex (Shah Abbas II period, 1673BC) in Isfahan were among them and the complex under our research, namely the Aligholi-Agha complex, is one of the most significant of these complexes, which will be built at the end of this period with the creation of the original core of the complex, namely the neighborhood mosque, in 1744 BC, respectively, Caravanserai, School and Zurkhaneh have been added to it, the last three of which have been destroyed during the last three decades.
One of the valid and important endowments of the Safavid period is the endowment deed complex named after him: school, mosque, bazaar, two baths, and other personal property such as mills, agricultural lands, qanats, and gardens. One of the things that give credence to this endowment is the signs and seals of several high-ranking persons, scholars, and prominent personalities of this period in different parts of this endowment deed. 

Conclusion
Accordingly, the Aligholi Agha complex in Bidabad quarter of Isfahan in the form of a quarter center with maximum preservation of the original complex as an urban space that with its physical elements has influenced the formation and regulation of the surrounding texture has been studied as a case study. This research is of historical-analytical type and has been done by library study method by reviewing the relevant materials and also referring to first-hand sources such as endowment letters from the collection as well as reviewing and surveying the historical context and its existing buildings. The questions that are followed in this research are: 1- How has the tradition of waqf and the conditions governing it influenced the formation of the Aliqoli Agha complex and the formation of the texture around it? 2- What has been the role of waqf in preserving and surviving the Aliqli-Agha complex since its construction?
Considering the importance of Aliqoli Agha endowment complex in Bid Abad historic quarter of Isfahan, which is a clear example to show the role of endowment in the formation of this complex and its impact on the formation of the surrounding urban fabric, as well as durability and survival from the construction period to the present according to tradition. The preferred endowment is selected as a case study in the framework of this research. In this regard, the valuable endowment document of Aliqoli-Agha collection has also been studied and its important and key points include quality of endow the collection by Aliqoli Agha, the location of the collection in the neighborhood, endowment places and competitions dedicated to endowments, appointing a trustee, custodian, and supervisor, how to maintain and protect the collection, the names of people present at the meeting and their seals and signs at the end of the endowment and some important points This document has been analyzed in line with the objectives of the research.

Abstract
Cultural Iran according to historical evidences, archaeological remains and cultural features such as language, ceremonies and customs, it covers a wide range from Central Asia to parts of the Indian subcontinent to the Caucasus and Asia Minor and throughout the Middle East and parts of the north of Africa. Throughout the history of the governments that ruled the Iranian plateau, at certain points in time have dominated a large part of the ancient world that, while political domination, have left their cultural influence directly and indirectly in various aspects in these realms and areas. These effects on the mentioned areas are so deep that they can be considered as part of the cultural Iran. Material evidence of this influence and cultural influences can be found in the material remains left in the form of cities, as well as the character of buildings, ancient hills and historical sites and  their dependent effects related to them, including the formation and patterns of pottery, architectural decorations, as well as cultural influences such as language, clothing, customs, and mythology. In this regard, trade and exchange in the form of transfer of artificial products from Iran to other lands also has a particular importance. In this regard, some pieces of tile decorations in Qalhat site were obtained during the archeological survey of the Iranian mission, which are clear examples in this field. The ancient port of Qalhat in Oman is one of the lands that owes part of its history to the presence of the Iranian element there; According to evidences, the presence began at the beginning of the historical period of Iran, ie the Achaemenid period, and has continued for centuries. In this article, we are going to introduction this ancient port to answer the question that tile decorations obtained from the archeological survey of the Iranian mission how confirm the trade and cultural exchange between Iran and this port ? Another question is: from which center or tile production center in Iran have been these tiles traded? This research is descriptive historical type and seeks to answer the research question with an archaeological approach based on evidences and remains from survery and library studies, including refering to historical texts and other sources.
Keywords: Qalhat Island, Bibimarim, Zarinfam Tile, Iranian Archaeological Board, Kashan.

Introduction
The ancient port of Qalhat is located 15 km north of the port and industrial city of Sur in the eastern province of Oman. Qalhat is one of the most important ports in Islamic lands along with other ports such as Sohar and Nazwa in Oman and Siraf in Iran, which has been of special importance throughout its history due to their location. This port is located in a triangle area where the natural and geographical features including mountains and sea have formed. The city covers an area of around 60 hectares from the west to the heights of Jabal Al-Hijr, from the north to the alluvial valley of Wadi Al-Helm, and from the east to the sea, and from the south to the city fence wall. Cultural exchanges of 
The results of the study program showed that the first period of settlement in this place reaches the third millennium BC (Bronze Age of Oman). Also, historical information confirms the continuation of the activity of the inhabitants of this place in the Iron Age, and periods of Parthian, Sassanid, early Islamic, Islamic Middle Ages - Seljuk period - until the sunset of the peaks in the seventeenth century AD. Accordingly, we are witnessing a period of about four thousand five hundred years of residence and prosperity in this port city.

Description
At the end of its life, this port was occupied by the Portuguese during the reign of Shah Abbas I Safavid. The Portuguese at this time in order to expand their colonies and dominate on the Persian Gulf, the Sea of Oman, the Red Sea and the Indian Ocean and control the lucrative trade of these parts and compete with the Dutchs and the Britishs who at this time realized these lucrative areas, Sent warships and units of their navy to these areas and occupied important areas including several islands and ports, which can be mentione areas such as Gambron port - Bandar Abbas - Hormoz and Qishm islands in Iran and ports of Qalhat, Ras al-Hadd, Sohar, Nazwa and Qoryat in Oman. In 1639, following the revolt of the inhabitants of the people of Qalhat against the occupiers and the recapture of the city, the defeated Portuguese retreated using explosives placed in the city on one side and with the cannons of their ships on the other targeted the city with severe attacks and completely destroyed it , so that except for the tomb of Bibi Maryam and the water reservoir of the city that was adjacent to it, all urban structures were destroyed. Some have attributed the non-destruction of the tomb to the Portuguese respect for Maryam’s name. In any case, this destruction was so widespread that it led to the destruction and abandonment of the people, and thus this important port disappeared for ever.
Following the conclusion of an agreement between the Cultural Heritage Research Organization of Iran and the Ministry of Archeology and Culture of the Oman, Two research programs were conducted in the Qalhat area under the supervision of the author. During the first season in the winter of 2007, this area was archaeologically surveyed and all its architectural remains were mapped and documented. In this regard, the important places of the port, including the areas around Bibi Maryam’s tomb and Qalhat Mosque, were surveyed with more focus.  In the second season, in the winter of 2008, based on the knowledge obtained from the archaeological survey conducted in the previous season, a place was selected for excavation, which resulted a building with the use of a khan or travelers’ residence.

Conclusion
One of the sites surveyed by the Iranian archaeologists is the remains of the ruined Mosque of Qalhat, which is located in the southeastern part of the city and overlooks the sea. This mosque has a square plan and was constructed with materials including rubble and light coral stones, like other buildings in the city, and from the surface artifacts, it can be seen that it was decorated with a lot of decorative elements related to architecture. The tiles used in this building are of the star and cross type in turquoise and green colors.
The most important building in this city is the tomb of Bibi Maryam, which has a quadrangular building with a crypt tomb; A building that, as mentioned, has survived the pervasive destruction of the city by the Portuguese. Bibi Maryam, the wife of “Ayaz”, the ruler of the Ilkhanid period, was in Hormoz, who sat on the throne for 2 years after the death of her husband around 696 and 697 AH.  According to the available evidence, parts of the inside and outside of the tomb were covered with tiles. Except for a few pieces, none of the tile decorations are left on this building, at now, but existed evidences on walls indicate that many parts of the building are covered with different types of tiles.  The study indicated that, pieces of several types of tiles were used as ornament for the tomb. In this article, we have introduce the tiles obtained from the study and discussed how to transfer these cultural materials in the form of trade and compare and them with similar examples in Iran. 

Abstract
The historical site of Vigol and Haraskan is located near Aran and Bidgol city in the north of Isfahan province. The archaeological studies of the first season of this site led to the identification of the central part of a fire temple and a small part of its circumambulation corridor. The second season of the archeological exploration in the fire temple was to identify other spaces around the central part of the fire temple. Archaeological studies revealed that since this fire temple was built in the urban context, it is more important than the fire temples that were built away from settlement areas. Beside architectural evidences, religious elements and decorative stucco relics found in this fire temple, the identification of several Sassanid Pahlavi inscriptions on the walls of the eastern circumambulation corridor of the fire temple and two Ostracons added to its importance. Pahlavi inscriptions founded on stucco plaster of the dado which are written in a beautiful handwriting. Unfortunately, except for a few inscriptions, most of them cannot be read and require extensive research. In this research data collection about Vigol fire temple and its Pahlavi inscriptions was done by field methods and linguistic and descriptive-analytical studies. The main questions of the research are: What is the content of Pahlavi inscriptions and what themes do they include? What period of time does the estimated date of writing these inscriptions include? Given to linguistic and archeological studies, the placement of these inscriptions inside the fire temple, the content and of them has religious themes, and according to their writing style, these inscriptions were probably written in the 7th and 8th centuries AD. According to the dating of the inscriptions, it seems that the fire temple of Vigol had a high reputation until the early Islamic centuries and was probably abandoned forever in the first of 9th AD century.
Keywords: Vigol and Haraskan, Fire Temple,Sassanan Period, Islamic Period, Pahlavi Inscription.

Introduction
Vigol ancient site has located in near Aran and Bidgol County in central of Iran (fig1). That is a vast site which covers more than 120 hectares, is currently covered with a thick accumulation of flowing sand. Archaeological excavations in the year 2010 led to the discovery of Sasanian fire temples in the site of Vigol and Hraskan, and the identification of four arches and a part of the circumambulation corridor was done in the first season of the excavation (Javari & MontazerZohouri, 2022). The second season of excavation in Vigol fire temple began in May 2021, which was aimed at identifying other spaces around the central part of the fire temple.
One of the most important evidences is the discovery of several Pahlavi inscriptions on one of dados and two walls which covered with ocher in the western corridor. These inscriptions, in addition to providing some religious statements, help us to identify the existence of the fire temple.In the procedure in the first stage, the found Pahlavi inscriptions were read, and along it, they were compared with archaeological and historical evidences. The number of inscriptions identified in this fire temple are six, but three of them are readable. Also, two pieces of written pottery (Ostracons) were also identified, which are still not readable due to high erosion.
The second season of the excavation of the fire temple was dedicated to the four-arched doorways (char taqi) of the fire temple on the north, east and west sides(fig2). In the next step, the exploration focused on identifying the spaces of ambulatory corridors in the north, east, west, and south sides around the four arches of the fire temple. Archeological studies as well as historical evidence about the fire temples led to the recognition of several architectural phases in this religious building. The second phase of the architecture of this fire temple is related to the porticoes built in the east of the fire temple and the third architectural phase is related to the period of the change of use of this fire temple in the Islamic period, when some spaces of the fire temple, such as the northern and western gates and the gates in the eastern corridor, were blocked with mud brick walls.

Inscriptions
A total of six inscriptions have been found on the walls of the eastern ambulatory corridor in the southern part, of which three inscriptions have been read. Among the six identified inscriptions, two inscriptions are on the eastern wall, one of these two inscriptions is written on the northern dado and the other is written on the upper part of the southern wall on which has an ocher cover. Four other inscriptions were written on the western of the southern part of wall of the eastern circumambulation corridor in front of the inscriptions on the eastern wall which all due to erosion are not readable (Fig3).
Inscription No. 1 located on the western wall is considered the clearest inscription in this collection, which is written on the stucco plaster of the wall with a legible and well-written script that is in five lines(Fig5). The text of the inscription was read by Professor Dieter Weber, a specialist in ancient languages, which is as follows: The text of the first inscription, according to the transliteration and reading of the inscription, has repeated and practiced writing the word “wrote” (nwbšht), which can be fallowed this word in other Pahlavi inscriptions. A number of thin pieces of plaster of this dado of the eastern wall of the Eastern ambulatory Corridor, which contain Pahlavi letters, were identified during the excavation at the side of the floor of this corridor(Table1). These thin gypsum pieces are part of the dado of the wall and contain several connected words and part of a legible and sometimes indistinct letter, which are written on the plaster using black ink with a pen, just like the original upper inscription. In terms of the dating of inscription number one and other inscriptions, according to Professor Weber, who studied this inscriptions, this writing style of Pahlavi script belongs to the late Pahlavi script, in other wise, to the early Islamic period, almost equal to 7th 8th centuries AD are relate.
Inscription No.2, this inscription is written in one line, which probably reflects a religious theme(Fig 8 ). The text of the inscription says: “(donated) to šād ruy baxt Āzarmugh”; in another sense, “it was charmingly presented to Āzarmugh”. This inscription is of special importance because it contains the name of a Zoroastrian priest of this region in the Islamic period, “Āzarmugh”. This evidence also tells about the existence of Zoroastrian religion in the early Islamic centuries in this region and the insistence of the residents of this area to preserve this religion.
‘L š’tlwdbht ’clmwk
ō šadrōybaxt Āzarmōg
Inscription number three, which is written in two lines, is still not possible to provide a consistent reading and translation due to erosion and lack of clarity(Fig 8 ).
1 KR’  MNW wlt’ý Y ZNH … l’d
2 BYN …… k’lyt …-b’k wl t’ý Y ZNH  
The phonetic writing of this inscription is as follows. In this inscription, there are words that include some illegible words and some Huzvariš, which are as follows: (KR’) with the reading of “har”:(evry); (MNW) with the reading of “Ke, Keš”:(which); (BYN) with the reading of  “andar”:(in,inner); and (ZNH) with the reading of “en”:(this).

Conclusion
The discovery of Pahlavi inscriptions in the fire temple of Vigol, in addition to the linguistic and grammar value in the field of linguistic studies and the Pahlavi lines of archaeological importance, is a great help for further understanding of the fire temple of Vigol as a fire temple with the rank of Adran, which is in the rank of local fire temples. The first important point is the place where these inscriptions were written in the fire temple, all of them were written in the eastern circumambulatory corridor in the southern part, on the stucco plaster of the dado  of the western wall and on the ocher cover of the upper part of the eastern wall. It seems that due to the location of the porticoes as places related to religious ceremonies in the east of the fire temple and the role of the Eastern circumambulatory corridor between the interior of the fire temple and the porticoes, this corridor has gained more importance and is a suitable place to insert religious inscriptions. In addition to including statements of religious nature and Zoroastrian tradition, the inscriptions help us in determining the historical and archaeological chronology of this fire temple. Based on the studies, according to the writing method and the type of pen, these inscriptions were written in the early Islamic centuries, which prove the religious persistence of the Zoroastrian community in the region until the early Islamic centuries on the other hand, the inclusion of the name “Azarmug” as a Zoroastrian cleric (Mubed) in the early Islamic centuries in central Iran is of particular importance.

Abstract
Recent studies in some archaeological sites of the Central Plateau of Iran and Afghanistan show that a style of decorating potteries known as stamped decoration was favorable to the Sassanid artists. Vigol, an archaeological site located in the northern Isfahan province (Aran and Bidgol), is one of those sites with several examples of Stamped motifs. This paper aims to study the patterns and abundance of stamped motifs and their chronology through comparative studies. Thus, our goal is to answer these questions: What are the patterns of stamped motifs in Vigol and how can we provide statistics on their frequency? What similarities do these motifs have with other common motifs in the art of the Sassanid period? Which of the existing samples can be compared with other motifs from Sassanid sites? The research method is descriptive-analytical which mostly relies on field and desk research. The results show that the motifs on the 49 stamped potsherds can be divided into seven categories, including heart-shaped, vegetal, circular, geometric, abstract, arch-shaped, and paisley patterns (Boteh). The first group of motifs including heart-shaped, vegetal, circular, arch-shaped, paisley, and some geometric motifs, are comparable to some artistic aspects of the Sassanid period like stucco design or reliefs and stamped motifs from other Sassanid sites. Chronologically stamped motifs of Vigol are comparable to some sites like Sassanid sites of southeastern Tehran province, Chal Tarkhan of Ray, Qaleh-Gabri and Langi-rud of Qom; and sites like Qasri-Abu Nasr, Ctesiphon, Qal’eh-i Yazdigird and Mes Aynak outside of the survey area. Several geometric and abstract motifs seem to be local and similar examples cannot be found.
Keywords: Aran and Bidgol, Vigol, Sassanid Art, Sassanid Pottery, Stamped Motifs. 

Introduction
Vigol is located in the southeast of Aran and Bidgol, nowadays surrounded by dunes deserts, and shrubs that cover most of the site. Based on some early and middle Islamic texts, this site was probably one of the villages around Kashan. In Tarikh-i Qum (History of Qom) written by Hassan ibn Mohammad Qomi, Aran, Haraskan, Noush-Abad, and Halil are mentioned. Some scholars believe that Halil is the same as Vigol, although its name is not mentioned as Vigol in Tarikh-i Qum (Mashhadi Noushabadi, 2017: 36). Nevertheless, what attaches importance to Vigol is the presence of two castles in the east and west of the site, mainly referred to as two separate urban structures of the Sassanid period. Also, a Fire temple unearthed in the vicinity of the western site is a unique example of Sassanid art and architecture that emphasizes singlehandedly the position of Vigol among other sites that belong to this period (Javari, 2015: 87). But we can’t escape the fact the existence of this fire-temple caused other studies, including potteries, to be forgotten. So, there is no comprehensive study focusing on Vigol’s potsherds and their importance in understanding the typology, classification, and chronology of the Sassanid pottery. The only paper available that covers Vigol’s pottery is the one that exclusively studies 98 potsherds of the Sassanid period. Results show that Sassanid pottery includes a simple and unglazed type with shapes of all kinds such as bowls, bins, jars, vats, pots, flats, trays, lids, and handles, which are comparable with other Sassanid sites of the west, northeast, south, and the central plateau of Iran.
But this paper’s focus is on Vigol’s stamped pottery of the Sassanid period. Concerning this issue, we have chosen 49 potsherds with stamped motifs and analyzed them based on their piece and patterns. These potsherds mostly belong to the body of earthen wares, but some rims, necks, shoulders, and bases are also examined. Shapes such as necked jars, closed-mouth jars, bowls, and lids are also decorated with stamped patterns. These potsherds have dough in the buff, red and brown colors, they are wheel-made with a decent firing. The temper includes minerals such as fine and coarse gravel, sand, lime, mica, and quartz and plants such as straw. Considering motifs, we have divided potsherds into seven categories: heart-shaped, vegetal, circular, geometric, abstract, arch-shaped, and paisley patterns (Boteh). In general, these motifs form the basis of our current research, thus other measures such as shape have been avoided.

Discussion 
Studying Vigol’s potsherds shows that potters were particularly interested in this type of decoration and used it in all kinds of shapes. Many of the stamp motifs of this site have traces of the Sassanid period and are reminiscent of the religious-ritual beliefs and artistic interests that dominated this historical period. Motifs include heart-shaped, vegetal, circular, geometric, abstract, arch-shaped, and paisley patterns (Boteh), among which the usage and variety of abstract motifs and geometric motifs are more visible. Abstract motifs were used as decorative borders on the lower part of the rim or the body of the vessels. Geometric motifs are also usually borders with incised motifs in horizontal or vertical rows and are even scattered all over a potsherd. Also used in horizontal or vertical rows as a decorative border, are circulars which are among the other diverse motifs. In some cases, these motifs have been used in the frames of incised motifs in the body of an earthenware. Due to the similarity of these motifs to the sun or the lotus flower, they cannot be separated from the religious-ritual beliefs ruling the Sassanid period.
Motifs in small numbers such as heart-shaped, vegetal, arch-shaped, and Boteh, are important considering their content and similarity to other artistic and ritual aspects of the Sassanid period. Despite the common usage of heart-shaped motifs in other forms of art in the Sassanid period such as stucco design, reliefs, and garments, these motifs are among the diverse items of Vigol’s potsherds, and unique when we compare them with other Sassanid sites. These motifs also decorate pots in vertical and horizontal rows and share a similarity of designs with the stucco of well-known Sassanid sites of Barz-Qavale and Ctesiphon. Compared to other motifs, heart-shaped motifs are the only case that evokes the arts of the Sassanid period in such diversity. 
It must be admitted that most of the stamped motifs of Vigol are similar to the potsherds surveyed at other Sassanid sites. Thus, for a more reliable chronology, we have divided Sassanid sites into two categories: Sassanid sites of southeastern Tehran province, Chal Tarkhan of Ray, Qaleh-Gabri and Langi-rud of Qom located inside the area of survey; and sites like Qasri-Abu Nasr, Ctesiphon, Qal’eh-i Yazdigird and Mes-Aynak which are located in the outside. 
Some stamped motifs such as circular, vegetal, and several geometric motifs, are comparable to other motifs obtained from known Sassanid. But some other geometric motifs, vertical or horizontal rows of abstract motifs used in the decoration of earthenware, seem to have a local nature. Because a similar example of them has not been found among other common arts of the Sassanid period and sites with stamped motifs.

Conclusion
The Sassanid art is known to be overwhelmed with luxurious aspects and motifs that are represented in Stucco design, Reliefs, metalwork, and, textiles. However, looking into other artistic features of this period indicates a new and unique medium. To comprehend this topic, we need to study the pottery created during the Sassanid period. We should consider its artistic value and how it is affected by the religious and ritual practices of that time. Vigol is one of the Sassanid sites with a fire temple that is a representation of their influence and power. Potsherds related to this period show the importance of pottery and its decoration. Examining these samples shows that most of them are simple and unglazed with stamped decorations, the variety and abundance of which is remarkable. Also, stamped sherds of vigol pottery is inspired by other artistic motifs of this period, such as heart-shaped motifs. According to the available documents and studies, it can be said that pottery has been a more appropriate cultural material for performing roles than other decorative arts. The comparison of motifs found on Stamped samples shows that this type of decoration was not only in Vigol but also in other important Sassanid sites in Mesopotamia, Iran, and Afghanistan. However, in some cases, the decoration of Stamped in Vigol shows a special variety that distinguishes it from other examples in the Sassanid period. Further studies consisting of archaeological surveys and excavations will add to our knowledge regarding the production and variety of motifs of Stamped potteries.